Elisabeth Louise Vigée Le Brun, 1755-1842

Baillio, Joseph

Kimbell Art Museum

The catalogue of an exhibition at the High Museum of Art, Atlanta, 1983. Illustrated with 83 color plates and numerous black and white figures.

The Rococo Age: French Masterpieces of the Eighteenth Century

Arts & Photography

Zafran, Eric M.

History & Criticism

High Museum of Art

Masterworks from the New Orleans Museum of Art and from private New Orleans collections.

The Odyssey Continues: Masterworks from the New Orleans Museum of Art and from Private New Orleans Collections

Bullard, E. John (foreword by)

Wildenstein, Guy (preface by)

Wildenstein

A sumptuous monograph of the renowned portraitist and friend of Marie Antoinette in Revolutionary France Elisabeth Louise Vigée Le Brun (1755–1842) was one of the greatest 18th-century French painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, especially of her patron and friend Marie Antoinette, she exemplified artistic success and personal resourcefulness in an age when women were rarely allowed either. Forced to flee France during the Revolution, Le Brun traveled throughout Europe for sixteen years, painting royal and noble sitters in the courts of Naples, Russia, Austria, Poland, and Germany. She returned to France in 1805, under the reign of Emperor Napoleon I, where her artistic career continued to flourish. Alongside 85 of her finest paintings and drawings from international museums and collections, this handsome volume details Vigée Le Brun’s story, portraying a talented and intelligent artist who was able to negotiate a shifting political and geographic landscape. Providing further context for the life of this extraordinary individual, essays by international experts address topics such as her travels in exile and the position of women artists in the Salons.

Vigée Le Brun

Lang, Paul

BAETJER, Katharine

Metropolitan Museum of Art

History recognizes Catherine the Great's remarkable temperament, political savvy and lavish reign (1762-96). The Empress is also known to have been an avid collector and enlightened patron, interested in everything and leaving nothing to chance, for she believed strongly in the political power of art. This German princess, an immigrant in far off Russia and a Russophile without a drop of Russian blood, took to her adopted homeland with a passion. She aspired to advance Peter the Great's endeavours to raise the country to modern heights. Guided by the finest advisors and demonstrating stunning extravagance, she ostentatiously bought up entire art collections from across Europe, without question becoming the founder of the Hermitage's collections. She commissioned works by pre-eminent artists and craftsmen, and imported not only European art but its culture and skills too, and successfully established Russian academies and factories. Above all, Catherine II showed a preference for classicism at an early age. She took delight in an Antiquity that was nostalgic, decorative, and monumental. Playing with the symbolism of Imperial power, she was a modern Minerva in public, and a fervent disciple of antiquity in private.

Catherine the Great: Art for Empire

Shevchenko, Valery

Androsoz, Sergey

Bagdasarova, Irina

Snoeck Publishers, Ghent

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